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Sample Syllabus
Contemporary Art, Architecture and New Media in China New York University A Private University in the Public Service Class Title Contemporary Art, Architecture and New Media in China Listed as “Contemporary Art and New Media in China” ARTCR-UE 9077 4 points Instructor Contact Name: Francesca Tarocco Information Class Time Thursday, 3:00-6:00 Course Description Over the past three decades, the contemporary art scene in China has expanded fast. The massive political, economic, and social changes the country has undergone since the end of the Cultural Revolution in 1976 have dramatically altered its cultural landscape. In this seminar course, the course will survey the main development areas in Chinese contemporary art. Dedicated to responding to the new textures of China’s metropolitan culture, it will look at the relationship between visual arts, new media, architecture and performance in the mega-city of Shanghai, often regarded as the cradle of Chinese modernity. The class will be complemented by guest lectures and visits to public museums, galleries and artists’ studios in and around Shanghai. Students will have the opportunity to meet leading figures from the art world in China as well as the international art community, including artists, museum directors, curators, art critics, and art dealers. Course Objectives * To develop your understanding and appreciation of some of the major intellectual and artistic transitions in Chinese contemporary art today. * To introduce you to many of the influential artists of as well as the important works in Chinese contemporary Art. * To explore the evolving understanding of artistic correspondences between Chinese context and he rest of the world. -
Beijing Guide Beijing Guide Beijing Guide
BEIJING GUIDE BEIJING GUIDE BEIJING GUIDE Beijing is one of the most magnificent cities in Essential Information Money 4 Asia. Its history is truly impressive. The me- tropolis is dynamically evolving at a pace that Communication 5 is impossible for any European or North Amer- ican city. Holidays 6 As is quite obvious from a glance at Tianan- men, the literal center of the city, Beijing is Transportation 7 the seat of communist political power, with its vast public spaces, huge buildings designed ac- Food 11 cording to socialist realism principles and CCTV systems accompanied by ever-present police Events During The Year 12 forces. At the same time, this might be seen Things to do 13 as a mere continuity of a once very powerful empire, still represented by the unbelievable DOs and DO NOTs 14 Forbidden City. With Beijing developing so fast, it might be Activities 17 difficult to look beyond the huge construction sites and modern skyscrapers to re-discover . the peaceful temples, lively hutong streets and beautiful parks built according to ancient prin- ciples. But you will be rewarded for your ef- Emergency Contacts forts – this side of Beijing is relaxed, friendly and endlessly charming. Medical emergencies: 120 Foreigners Section of the Beijing Public Se- Time Zone curity Bureau: +86 10 6525 5486 CST – China Standard Time (UTC/GMT +8 hours), Police: 110 no daylight saving time. Police (foreigner section): 552 729 Fire: 119 Contacts Tourist Contacts Traffic information: 122 Tourist information: +86 10 6513 0828 Beijing China Travel Service: +86 10 6515 8264 International Medical Center hotline: +86 10 6465 1561 2 3 MONEY COMMUNICATION Currency: Renminbi (RMB). -
Research on the Propagation Effect of the Painters Art in the Tang Dynasty
2019 3rd International Workshop on Arts, Culture, Literature and Language (IWACLL 2019) Research on the propagation effect of the painters art in the Tang Dynasty Jin Xiaoyun Art College of Gansu University of Political Science and Law, Lanzhou 730070, China Keywords: Tang Dynasty; painters art; spread; effect; research Abstract: As the highest peak of feudal society development in Chinese history, the glory of the Tang Dynasty is reflected in all aspects, and painting is part of it. Throughout the painters art in the Tang Dynasty, the magnificent and positive spirits are revealed everywhere. It is one of the most brilliant pearls in the history of Chinese art, and it has written generous colour for the splendor of world culture. The creative environment of the Tang Dynasty painters was relatively free and there were many ways of communication. Therefore, many famous art and works were spread at that time, which had a great impact on the people at that time and in later generations. This paper mainly studies the spread and effect of the painters art in the Tang Dynasty. 1. Introduction The Tang Dynasty has achieved unprecedented development in economic, political, and cultural aspects, and which constituted the prosperous Tang Dynasty that the Chinese nation is proud of. The art of painting also showed an unprecedented prosperity in the Tang Dynasty. The painters art of the Tang Dynasty was supported by the famous masters of the Tang Dynasty. Because of the powerful national power and prosperous economy, the scale and artistic reached the level that the former generation could not match. -
Cc6fe371d11541538bd242467c
On February 24, 2018, Henan: Home of Chinese Culture—2018 Hong Kong Happy Spring New Year Temple Fair was grandly opened in Kowloon Park in Hong Kong. On February 18, 2018, Home of Panda: Beautiful Sichuan—The Eighth Cross-Straits Spring Festival Folk Temple Fair was grandly opened at the Nantou County Convention and Exhibition Center in Taiwan. On February 2, 2018, Universal Celebrations—the People of China and the Philippines jointly welcome the New Year was held at the Commercial Center in Clarke, the Philippines. On February 22, 2018, the celebration of 2018 EU-China Tourism Year—Chinese Lanterns Light up the heart of Europe was successfully held in the Grand Place in Brussels, Belgium. Contents Express News FOCUS 04 President Li Xiaolin meets with Cambodian group /Wang Bo 04 Vice-President Xie Yuan meets granddaughter of General Chennault /Jin Hanghang 05 Vice-President Hu Sishe attends premiere of documentary film, TCM promotion tour /Yu Xiaodong 05 20th anniversary of China-South Africa diplomatic ties /Zhang Yujun 06 China-Japan friendship concert held in Beijing /Liu Mengyan 04 06 President Li Xiaolin and Secretary-General Li Xikui attend signing ceremony /Jia Ji 07 International sister city exchanges exhibition /Chengdu Friendship Association 07 The Belt and Road: 2018 Walk into Nepal photography competition / Chengdu Friendship Association 21 View 08 Kimiyo Matsuzaki, witness of ping-pong diplomacy between China and Japan /He Yan 12 The legendary life of He Lianxiang, goodwill messenger of Peru-China 36 friendship /Tang Mingxin -
Andreas Schmid Interview Transcript
www.china1980s.org INTERVIEW TRANSCRIPT ANDREAS SCHMID Interviewer: Jane DeBevoise, Anthony Yung Date: 27 Apr 2008 Duration: about 2 hours Location: Asia Art Archive, Hong Kong Question (Q): Why did you go to China? Where you and what were you doing? Who are some of the artists that you encountered and what do you think about them? What were the artists reading and what are your comments on those materials? Andreas Schmid (AS): I graduated from the Art Academy in Stuttgart in 1981, studying painting. My paintings were, at that time, very different from German painters like Kiefer in that they always have free space, and transparency of layers of space in them. I painted with oil and acrylic, and it was different from my colleagues/contemporaries. I became interested in the idea of space, of Chinese Art, classical Chinese art, like Ni Zan [倪赞] in the fourteenth century. Then I went to Cologne and saw a collection of Japanese Buddhist writings collected by Seiko Kono , abbot of the Daian-ji temple in Nara City , Japan. I would like to know the line from another side, because lines played the most important role graphically in my paintings. So I tried contacting organizations that would support me, and they informed me there was only one woman who went to China as an artist from Germany with the support of the German exchange service. I went to see her, and she had studied in Hangzhou one year ago at that time (1980). She studied birds and flowers painting. She told me, if you want to do this, you should go to China, it is interesting. -
Xue Susu (1573-Ca.1650) Was a Courtesan Who Lived in the Final Years of the Ming Dynasty
ESTEEMED LINK: AN ARGUMENT FOR XUE SUSU AS LITERATI A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI’I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY MAY 2011 By Cordes McMahan Hoffman Thesis Committee: Kate Lingley, Chairperson John Szostak Paul Lavy Xue Susu (1573-ca.1650) was a courtesan who lived in the final years of the Ming dynasty (1368-1644). She was a multi-faceted artist, known for her painting, poetry and heroic personal- ity. An active participant in literati culture for most of her life, Xue’s body of work contains sev- eral outstanding paintings which demonstrate her grasp of the artistic concerns of literati painting practice at that time. Modern scholarship of Chinese women artists is a growing field, and it is now unthinkable to exclude women in the broad category of Chinese painting. However, examinations of individual artists, have been limited. For example, Xue Susu has been the subject of articles by Tseng Yu- ho (Betty Ecke); she was featured in an encyclopedic exhibition of Chinese women painters titled Views from Jade Terrace: Chinese Women Artists 1300-1912, and she is listed in several survey texts of Chinese art history.1 These considerations of Xue Susu demonstrate that modern scholarship acknowledges her as a talented painter. However, Xue is usually only considered in aggregate with other women painters with the grouping, gender being the primary identifier for artistic identity. The problem at hand then becomes that the majority of Xue Susu’s surviving work is dissimilar in stylistic choice to the general group of female painters of her era. -
Edward Burtynsky, Jiang Zhi, Shyu Ruey-Shiann, Gao Brothers, Cai Guo-Qiang “Nice Painting” in Hong Kong Et Al
NOVEMBER/DECEMBER 2012 V OLUME 11, NUMBER 6 INSI DE Artist Features: Edward Burtynsky, Jiang Zhi, Shyu Ruey-Shiann, Gao Brothers, Cai Guo-Qiang “Nice Painting” in Hong Kong et al. Contemporary Art Spaces in Xi’an Vitamin: A Conversation with Zhang Wei and Hu Fang Possibilities for the Page: Artist’s Books US$12.00 NT$350.00 PRI NTED IN TA I WAN 6 VOLUME 11, NUMBER 6, NOVEMBER/DECEMBER 2012 CONTENTS Editor’s Note 34 Contributors 6 Displaced Cultural Landscape and Manufactured Landscapes: The Three Gorges Project in Art Zhou Yan 15 "Nice painting" et al. – Different Kinds of Painting and Related Practices in Hong Kong Frank Vigneron 41 34 Jiang Zhi’s Faulty Display Mathieu Borysevicz 41 Gleaned Memories: The Art of Shyu Ruey- Shiann Gilles Guillot 48 The Gao Brothers and The Execution of Christ: A Conversation Voon Pow Bartlett, Le Guo, Carrie Scott, Sheng Qi, and Haili Sun 61 61 Leaving Chang’an: Establishing Contemporary Art Spaces in the Ancient Capital Yang Wang 70 The Institution of Forgetting? Contemporary Chinese Art, Crititque, and the Academy Julian Scarff 83 Nutrition Spaces: Vitamin, Guangzhou, and Beijing 83 Edward Sanderson 92 Possibilites for the Page: 88BOOKS and Artists' Books in China Joni Low 103 Cai Guo-Qiang: Sky Ladder Orianna Cacchione 110 Chinese Name Index Cover: Cai Guo-Qiang, Crop Circles, (detail), 2012, reeds, 103 plywood, approximately 800 x 3600 cm. Photo: Joshua White/ JWPictures.com. Courtesy of the artist and The Museum of Contemporary Art, Los Angeles. We thank JNBY Art Projects, Canadian Foundation of Asian Art, Mr. -
WHY-NEW-YORK-Artworks-List.Pdf
“Why New York” 是陈丹青、马可鲁、冯良鸿三人组合的第四次展览。这三位在中国当代艺术的不同阶 段各领风骚的画家在1990年代的纽约聚首,在曼哈顿和布鲁克林既丰饶又严酷的环境中白手起家,互 相温暖呵护,切磋技艺。到了新世纪,三人不约而同地回到中国,他们不忘艺术的初心,以难忘的纽约 岁月为缘由,频频举办联展。他们的组合是出于情谊,是在相互对照和印证中发现和发展各自的面目, 也是对艺术本心的坚守和砥砺。 不同于前几次带有回顾性的展览,这一次三位艺术家呈现了他们阶段性的新作。陈丹青带来了对毕加 索等西方艺术家以及中国山水及书法的研究,他呈现“画册”的绘画颇具观念性,背后有复杂的摹写、转 译、造型信息与图像意义的更替演化等话题。马可鲁的《Ada》系列在“无意识”中蕴含着规律,呈现出 书写性,在超越表面的技巧和情感因素的画面中触及“真实的自然”。冯良鸿呈现了2012年以来不同的 几种方向,在纯色色域的覆盖与黑白意境的推敲中展现视觉空间的质感。 在为展览撰写的文章中,陈丹青讲述了在归国十余年后三人作品中留有的纽约印记。这三位出生于上海 的画家此次回归家乡,又一次的聚首凝聚了岁月的光华,也映照着他们努力前行的年轻姿态。 “Why New York” marks the fourth exhibition of the artists trio, Chen Danqing, Ma Kelu and Feng Lianghong. Being the forerunners at the various stages in the progress of Chinese contemporary art, these artists first met in New York in the 1990s. In that culturally rich yet unrelenting environment of Manhattan and Brooklyn, they single-handedly launched their artistic practice, provided camaraderie to each other and exchanged ideas about art. In the new millennium, they’ve returned to China respectively. Bearing in mind their artistic ideals, their friendship and experiences of New York reunite them to hold frequent exhibitions together. With this collaboration built on friendship, they continue to discover and develop one’s own potential through the mirror of the others, as they persevere and temper in reaching their ideals in art. Unlike the previous retrospective exhibitions, the artists present their most recent works. Chen Danqing’s study on Picasso and other Western artists along with Chinese landscape painting and calligraphy is revealed in his conceptual painting “Catalogue”, a work that addresses the complex notions of drawing, translation, compositional lexicon and pictorial transformation. Ma Kelu’s “Ada” series embodies a principle of the “unconscious”, whose cursive and hyper expressive techniques adroitly integrates with the emotional elements of the painting to render “true nature”. -
Contemporary Asian Art and Exhibitions Connectivities and World-Making
Contemporary Asian Art and Exhibitions Connectivities and World-making Contemporary Asian Art and Exhibitions Connectivities and World-making Michelle Antoinette and Caroline Turner ASIAN STUDIES SERIES MONOGRAPH 6 Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Antoinette, Michelle, author. Title: Contemporary Asian art and exhibitions : connectivities and world-making / Michelle Antoinette and Caroline Turner. ISBN: 9781925021998 (paperback) 9781925022001 (ebook) Subjects: Art, Asian. Art, Modern--21st century. Intercultural communication in art. Exhibitions. Other Authors/Contributors: Turner, Caroline, 1947- author. Dewey Number: 709.5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover illustration: N.S. Harsha, Ambitions and Dreams 2005; cloth pasted on rock, size of each shadow 6 m. Community project designed for TVS School, Tumkur, India. © N.S. Harsha; image courtesy of the artist; photograph: Sachidananda K.J. Cover design and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Acknowledgements . vii Introduction Part 1 — Critical Themes, Geopolitical Change and Global Contexts in Contemporary Asian Art . 1 Caroline Turner Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art . 23 Michelle Antoinette 1 . Polytropic Philippine: Intimating the World in Pieces . 47 Patrick D. Flores 2 . The Worlding of the Asian Modern . -
Behind the Thriving Scene of the Chinese Art Market -- a Research
Behind the thriving scene of the Chinese art market -- A research into major market trends at Chinese art market, 2006- 2011 Lifan Gong Student Nr. 360193 13 July 2012 [email protected] Supervisor: Dr. F.R.R.Vermeylen Second reader: Dr. Marilena Vecco Master Thesis Cultural economics & Cultural entrepreneurship Erasmus School of History, Culture and Communication Erasmus University Rotterdam 1 Abstract Since 2006, the Chinese art market has amazed the world with an unprecedented growth rate. Due to its recent emergence and disparity from the Western art market, it remains an indispensable yet unfamiliar subject for the art world. This study penetrates through the thriving scene of the Chinese art market, fills part of the gap by presenting an in-depth analysis of its market structure, and depicts the route of development during 2006-2011, the booming period of the Chinese art market. As one of the most important and largest emerging art markets, what are the key trends in the Chinese art market from 2006 to 2011? This question serves as the main research question that guides throughout the research. To answer this question, research at three levels is unfolded, with regards to the functioning of the Chinese art market, the geographical shift from west to east, and the market performance of contemporary Chinese art. As the most vibrant art category, Contemporary Chinese art is chosen as the focal art sector in the empirical part since its transaction cover both the Western and Eastern art market and it really took off at secondary art market since 2005, in line with the booming period of the Chinese art market. -
Post-Cold War Experimental Theatre of China: Staging Globalisation and Its Resistance
Post-Cold War Experimental Theatre of China: Staging Globalisation and Its Resistance Zheyu Wei A thesis submitted for the degree of Doctor of Philosophy The School of Creative Arts The University of Dublin, Trinity College 2017 Declaration I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library Conditions of use and acknowledgement. ___________________ Zheyu Wei ii Summary This thesis is a study of Chinese experimental theatre from the year 1990 to the year 2014, to examine the involvement of Chinese theatre in the process of globalisation – the increasingly intensified relationship between places that are far away from one another but that are connected by the movement of flows on a global scale and the consciousness of the world as a whole. The central argument of this thesis is that Chinese post-Cold War experimental theatre has been greatly influenced by the trend of globalisation. This dissertation discusses the work of a number of representative figures in the “Little Theatre Movement” in mainland China since the 1980s, e.g. Lin Zhaohua, Meng Jinghui, Zhang Xian, etc., whose theatrical experiments have had a strong impact on the development of contemporary Chinese theatre, and inspired a younger generation of theatre practitioners. Through both close reading of literary and visual texts, and the inspection of secondary texts such as interviews and commentaries, an overview of performances mirroring the age-old Chinese culture’s struggle under the unprecedented modernising and globalising pressure in the post-Cold War period will be provided. -
Involving the Community in Inner City Renewal: a Case Study of Nanluogu in Beijing
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Zhang, Chun; Lu, Bin; Song, Yan Article Involving the community in inner city renewal: A case study of Nanluogu in Beijing Journal of Urban Management Provided in Cooperation with: Chinese Association of Urban Management (CAUM), Taipei Suggested Citation: Zhang, Chun; Lu, Bin; Song, Yan (2012) : Involving the community in inner city renewal: A case study of Nanluogu in Beijing, Journal of Urban Management, ISSN 2226-5856, Elsevier, Amsterdam, Vol. 1, Iss. 2, pp. 53-71, http://dx.doi.org/10.1016/S2226-5856(18)30060-8 This Version is available at: http://hdl.handle.net/10419/194394 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence.